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Dan Flory

This article modifies philosopher Tamar Szabó Gendler's theory of imaginative resistance in order to make it applicable to film and analyze a distinctively adverse kind of resistant response to James Cameron's Avatar (2009). Gendler's theory, as she states it, seeks to explain resistance to literary stories in a straightforwardly cognitivist, but narrowly rationalistic fashion. This article introduces elements from recent work at the intersection of philosophy of film and the emotions to augment Gendler's theory so that it can be used to explain why some viewers hesitate or even refuse to imagine some cinematic fictional worlds. The method used is analytic philosophy of film. The analysis reveals that some viewers are cognitively impoverished with regard to imagining race in general: they will likely have extreme difficulty in centrally imagining racially "other" characters, which also bodes ill for their real-world prospects for moral engagements concerning race.

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Murray Smith

Todd Berliner’s Hollywood Aesthetic advances an original perspective on Hollywood filmmaking by insisting on its fundamentally aesthetic character, and exploring its particular aesthetic features with the tools of neoformalist film analysis, cognitive psychology, and the philosophy of art. I focus on two of the book’s most ambitious claims: a) that appreciation of the style of Hollywood films can play an important role in our experience of them, over and above its role in representing and expressively dramatizing narrative elements; and b) that the ideological dimension of Hollywood filmmaking serves its aesthetic purposes, rather than vice versa. I conclude by noting a common root to the resistance likely to greet Berliner’s two bold inversions of conventional wisdom on narrative, style, aesthetics, and ideology.

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Dan Flory

(namely, the Na’vi of Pandora) as being fully equivalent to humans and therefore morally worthy of respect ( Flory 2013b: 53 ). 11 As I explained, this form of imaginative resistance is arguably caused by viewers confusing the invitation to imagine

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Transitions Within Queer North African Cinema

Nouri Bouzid, Abdellah Taïa, and the Transnational Tourist

Walter S. Temple

consider the various modes of resistance that qualify the main character’s voyage toward self-discovery in each work. Moreover, given that questions of homoerotic tourism inform the imaginaries of both filmmakers, we must consider the implications of

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Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston and Kristof van Baarle

resistance grows throughout the performance and an evolution from slavish adaptation to the imposed movement towards consciously adopting and thus appropriating movements, occurs. 1 Consciously quoting is a different practice than being passively composed of

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

-female circumcision laws still encounter resistance to the measures. Based on my own fieldwork in northern Ghana, the implementation of legislation has not hindered the practice’s continuance. Rather, it has transformed the way the procedure is narrated by locals

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Situating Screen Bodies

Brian Bergen-Aurand

. Collen Mfazwe and I met when we both participated in the “Art + Resistance: Visual Acts, Queer Interventions, and Activism” workshop at the Institute for Queer Theory in Berlin in 2015. 1 Since that time, we have grown to become friends through extended

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Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman and Joseph Christopher Schaub

” initiates a conversation on Kohan’s broader strategy of employing sexuality in her television shows as a creative force for resistance and survival in oppressive institutional environments. Other essays in the collection explore the ways that the

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood and Paul Gordon Kramer

. Proximity is the key word here. The author explores this concept and its metonyms in the memoirs of French resistance fighter and Auschwitz survivor Charlotte Delbo (59). His analysis concludes that there is little to be gained from attempts at excavating

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Wyatt Moss-Wellington

us on the problems faced by a particular character within that world. In Ken Loach’s Land and Freedom (1995), David (Ian Hart) experiences dissonances between narratives of resistance after Franco’s successful wedge politics divide the socialist